Exhibitions: 2015

The Armory presents an outdoor exhibition featuring three photographic works by Martin Kersels on display at Roadside Attraction, the Armory’s open-air gallery in Northwest Pasadena.

The Women’s Center for Creative Work is a network of Los Angeles-based women engaged in conversations about contemporary feminisms and creative practices.

The first retrospective exhibition of this influential feminist artist features a selection of works from Wilding’s studio practice spanning the past forty years.

Mallinson’s exhibition ends the sequence with an offering, a free painting, all the while positing the role of painting today in an attempt to literally free it from its dependence on the art market for relevance and meaning.

Viewers are invited to create their own “paintings” by selecting and placing assorted laminated pouches on the glass plate surface of the projector.

Kate Gilmore critiques modernist tropes such as action painting and “the drip” that are still in dialogue with painting to this day. This exhibition includes a selection of performance videos that challenge the heroic myths and gendered stereotypes of painting.

Pinto mi Raya (“to draw the line”) is a multi-disciplinary art project founded by Mexico City-based artists Mónica Mayer and Victor Lerma to “lubricate the Mexican Art System.” It began as an artist-run gallery in 1989, at a time when both galleries and museums were particularly closed to non-traditional forms of art.

Using hip-hop culture as an aesthetic and ideological model, Carter references the fluidity of contemporary culture where individuals and objects flow in and out of identities, roles, and expectations.

This group exhibition focuses on Victor Papanek’s pioneering influence on sustainable, socially responsible, human-centered design and the relevance of his oeuvre to current discourses in contemporary art, particularly in providing a critical framework for an object-oriented social practice.

Knuth creates a new series of performative paintings using emergency smoke flares amid a stark desert landscape.

The Armory presents a series of unrealized, never-before shown, and groundbreaking early works (produced from 1971 through 1989) examining Glassman’s musings with the mundane.

A three-person exhibition that takes notions of “the mystical” as an entry point to consider daily encounters that are marked with eccentricity, the surreal, and a dream-like passage of time.

In this exhibition, Yossifor’s time-based painting process converges with the quintessential time-based medium, wet cement.